1 verses · ~1 min
चालो ढाकोरमा जइ वसिये। मनेले हे लगाडी रंग रसिये॥ध्रु०॥ प्रभातना पोहोरमा नौबत बाजे। अने दर्शन करवा जईये॥१॥ अटपटी पाघ केशरीयो वाघो। काने कुंडल सोईये॥२॥ पिवळा पितांबर जर कशी जामो। मोतन माळाभी मोहिये॥३॥ चंद्रबदन आणियाळी आंखो। मुखडुं सुंदर सोईये॥४॥ रूमझुम रूमझुम नेपुर बाजे। मन मोह्यु मारूं मुरलिये॥५॥ मीरा कहे प्रभु गिरिधर नागर। अंगो अंग जई मळीयेरे॥६॥
इति
The Poet
मीराबाई
Mirabai
1498 · 1546
In the vast tradition of Indian devotional literature, Mirabai stands as an absolute force of fearless independence. Born around 1498 into a royal Rajput family in Rajasthan, she rejected every expectation placed upon a woman of her aristocratic stature. Following the death of her husband, she refused to commit Sati, refused to mourn according to courtly protocol, and instead declared herself eternally married to Lord Krishna. Her entire life became an act of spiritual rebellion against feudal patriarchy. She left the palace, mingled with the lower castes, accepted the leather-worker Ravidas as her guru, and composed ecstatic, deeply personal poetry (bhajans) that mapped the fierce agony and joy of divine love. According to enduring historical memory, she survived multiple assassination attempts by her furious in-laws before leaving Mewar entirely. Five centuries later, her voice remains universally alive. Her songs are sung in temples, villages, and classical concerts across the subcontinent. She did not merely write Bhakti poetry; she weaponized devotion to achieve total personal liberation.
Paired Painting
Krishna Playing the Flute, Scene from the Bihari Sat Sai
This exquisite leaf captures a moment of divine harmony inspired by the Bihari Sat Sai, a renowned collection of seven hundred verses composed by the poet Bihari Lal Chaube. The painting depicts Lord Krishna, whose form is imbued with the celestial blue of the infinite sky, engaged in the act of playing his flute. He is surrounded by the gopis, whose graceful postures and intricate attire reflect the refined aesthetic sensibilities of the Mewar court. Above them, the dark, turbulent monsoon clouds swirl, punctuated by a shimmering streak of gold lightning, a quintessential motif signifying the onset of the rains and the height of romantic longing. The architecture to the left, with its elegant pavilion, grounds this transcendental scene in the visual language of seventeenth century Rajasthan, blending the spiritual essence of the verses with the rich cultural fabric of the era.
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